Architecture practice Robbrecht and Daem have designed a new semi-open pavilion in the Hortiflora flower gardens of Antwerp's Middelheim Museum. Photography: Joris Casaer

“这绝对不是一个白色的魔方，”比利时建筑师保罗·罗伯布雷希特(PaulRobbret)介绍了他的新展馆——他的基于GHENT的实践——罗伯布雷希特和达勒姆(也负责伦敦白Techapel画廊的翻新和扩建)，这是为安特卫普的Middelheim露天雕塑博物馆而设计的。
他补充道：“我们真正想要做的是制造一个建筑，展示建筑的构造，这显示了建筑的构造。”

HET Huis(荷兰的房子或家)被故意布置成与它所建的正规花园的直路成对角线的角度，以使它看起来“被编织到周围的景观中”。这是罗布瑞希特反复提到的主题，揭示了他最伟大的灵感来源之一是19世纪德国建筑师和艺术历史学家戈特弗里德·森珀关于“建筑的纺织起源”的概念。

半开放结构的简略很简单。Robbrecht说：“这是一个与自然有真正联系的展馆，它周围的风景可以在这里展出更小或更脆弱的艺术品，或者需要一个更有框架的环境的作品。”这里展出的德国艺术家托马斯·舒特(Thomas Schütte)五颜六色但令人不安的陶瓷头像和骨灰盒是为展馆的落成而设计的，与光滑的混凝土地板、屋顶的几何线和角度以及天花板的特殊“地势”形成鲜明对比，“看上去像是在移动”。

Robbrecht说，这个展馆在建筑上代表了自然。两棵树被种植在空间的两端，钢格子图案的屏风(它可以被拉过四个开口，以便在夜间关闭展馆)创造出非凡的点缀效果，就像光线从树枝上射进来一样。罗布勒特兴奋地说：“你几乎可以认为这是你头顶上的一片树叶屋顶。”

参观了200多座雕塑(包括艾未未、菲利普·范斯尼克和罗马签字人的新作品)后，游客们会发现罗布瑞希特和达姆的角钢和混凝土“房子”是一个拥有非凡和平、亲密和诗意的地方。这座公园占地75英亩，占地面积达75英亩。

'Het Huis' is laid out at diagonal angles to the straight paths of the formal gardens, so that it looks 'woven into the surrounding landscape'

The architects' brief was for a pavilion that 'would have real contact with nature,' says Paul Robbrecht. They were asked to create 'a place where smaller or fragile works of art could be shown, or works that needed a more framed setting'

On display inside the pavilion are a series of glossy ceramic urns and heads by German artist Thomas Schütte, created especially for the structure's inauguration

They contrast ingeniously with the smooth concrete floors, geometric lines and angles of the roof, as well as the special 'topography' of the ceiling, which 'looks as if it's moving'

Robbrecht, who has guest curated the works in the pavilion and surrounding sculpture park, has long been an admirer of Schütte's work. '[His works] inspired me to become an architect,' he says

The pieces fall somewhere between the abstract and the figurative

One of Schutte's more representational busts

Schütte's works will be on display until 16 September

A sketch of the pavilion by Robbrecht and Daem architects

A sketch of the pavilion by Robbrecht and Daem architects

The opening of the pavilion coincides with a major reinvigoration of the museum and its surrounding sculpture garden (which has been extended by 12 acres), as well as the unveiling of new site-specific works of art by Ai Weiwei (pictured is his 'The Bridge Without a Name'), Roman Signer and Philippe Van Snick

When invited to create a bridge by the museum, Ai Weiwei - known for using materials sparingly - recycled an existing one in the sculpture garden, replacing the deck with planks that form the contours of China, his homeland

The sculpture 'Bidon Bleu', by Roman Signer, is part of a series of actions in which the artist launches objects into the open-air with the help of a slope. During the performance on Saturday, 26 May (the opening day of the revamped Middleheim Museum), a metal barrel rolled at high speed down the slope and exploded against a concrete wall at the bottom. Pictured is the sculpture before the performance

Bidon Bleu in motion

The remains of Signer's creation is the artwork that will stay in the sculpture garden

Philippe Van Snick repurposed an existing pond outside the sculpture garden's Braem Pavilion to create 'Poëzie'. The bottom and sides of the pond are covered with black stones. From between the stones, tiny air bubbles rise from ten columns spread across the water’s surface. The cadence of the various columns causes rippling or areas of calm on the water

The Braem Pavilion, formerly the space for temporary shows, is now completely reserved for fragile pieces from the permanent collection. For the reopening of Middelheim, fashion designer Bernhard Willhelm and his creative partner Jutta Kraus have curated a selection of pieces that examine the human body. Pictured are 'John the Baptist' (left), by August Rodin, 1978 - 1880; 'Seated Figure' (centre) by Hans Steinbrenner, 1954-1955; and 'Boy on a Chair' (right), by Kurt Trampedach, 1977

'Double Whipped Cream Remastered' (centre), by Peter Rogiers, 2007-2008

'Female Torso', by Ewald Mataré, 1933, and 'Venice II', by Alberto Giacometti, 1956

Throughout the Braem Pavilion, chairs, sofas and ladders, designed by Willhelm and Kraus, give visitors a chance to reflect on their own physicality

'Astro', by Paul Van Hoeydonck, 1970, and internet footage, titled 'crazy people'

keywords:robbrecht and daem, robbrecht en daem, architecture pratice, middelheim museum, thomas schutte

关键词：Robbrecht and Daem，Robbrecht en Daem，Architecture Pratice，Middelheim博物馆，Thomas Schutte